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TERRA COTTA 
OF THE 

ITALIAN RENAISSANCE 



NATIONAL TERRA COTTA SOCIETY 

NEW YORK 
<^• 2 - 



c>n v 


T he national terra cotta society hereby expresses 

ITS GREAT INDEBTEDNESS TO MR. ARTHUR FREDERICK 
ADAMS, A.I.A., A LOVER OF TERRA COTTA IN ARCHITECTURE, 
BY WHOM THESE PICTURES WERE SOUGHT AND STUDIED IN THE 
HIGHWAYS AND BYWAYS OF ITALY AND WITH WHOSE ASSIST¬ 
ANCE THEY WERE ASSEMBLED AND ARRANGED FOR THIS BOOK. 


COPYRIGHT 1925 BY 


y 


NATIONAL TERRA COTTA SOCIETY 


PRINTED IN THE UNITED STATES OF AMERICA 


APR "6'25 






TERRA COTTA 

PRECEDENT IN ITALY 

Its Adaptability to Modern Design 


gARLY Italian precedent in terra cotta 
offers many motifs which may be 
adapted freely in modern design. A com¬ 
prehensive presentation of these in one 
volume has not heretofore been attempted. 

Recognizing the value of this material the 
National Terra Cotta Society commissioned 
Mr. Arthur Frederick Adams, A. I.A., to 
travel through Italy and gather the material 
presented in this book. Over three hundred 
special photographs were taken by Mr. 
Adams in an extended tour throughout 
northern Italy during the summer of 1923. 
The subjects include not only buildings which 
are well known but less familiar examples 
of outstanding merit found in remoter places 
and not heretofore published. From the 
views so obtained two hundred have been 
selected for publication. 

Among all historic precedents in the use 
of terra cotta the Italian Renaissance offers 
the most fruitful field of study. In no other 
period or style are more motifs to be found so 
well adapted to execution in modern terra 
cotta and so logical in relation to present day 
structural necessities. Many of the decora¬ 
tive motifs presented in this volume require 
little or no modification for immediate use. 
Where differences of scale or other neces¬ 
sary departure may be encountered in present 


work the designer has a vastly expanded lati¬ 
tude for meeting such conditions in the terra 
cotta produced today. Pieces of much greater 
size can now be fired successfully and the 
varied requirements of a wider stylistic appli¬ 
cation can be fulfilled: in finish, color and sur¬ 
face treatment. 

There is to be gained from a study of this 
inspirational early Italian work a more sym¬ 
pathetic appreciation of the true spirit of a 
clay medium, the observance of which in our 
modern design would give the peculiar sig¬ 
nificance and appealing charm of this older 
work. These views display the intense sym¬ 
pathy with which the architects of the 
Renaissance in Italy regarded the problem 
of decorative treatment in burnt clay, pre¬ 
serving the essential character of this in their 
design. It is in this frank, sincere handling 
of material that we may recognize much of 
their compelling interest and dignity. 

Of the creators of this early clay architec¬ 
ture but little need be said. Donatello, 
Brunelleschi, Filarete, Alberti, Bramante, 
Dolcebuono, Michael Angelo and Luca della 
Robbia, have achieved a fame which is 
everlasting. Their monuments in terra cotta, 
brick and stone offer a precedent which will 
always endure. 


hi 


LIST OF PLATES 


Window detail. 
Detail in courtyard. 
Detail in courtyard. 


GALATRONA. BAPTISMAL FONT BY DEI DELLA ROBBIA. 

bologna, palazzo cenciaioli. Detail of facade. 

BOLOGNA. PALAZZO CENCIAIOLI. 

BOLOGNA. PALAZZO BEVILACOUA. 

BOLOGNA. PALAZZO BEVILACQUA. 

bologna, palazzo bevilacqua. Detail in courtyard. 

PAVIA. CLOISTRE DELLA PRISTERLA. Detail of loggia. 

Milan, church of the incoronata. Detail of facade. 

Milan. Small palace window detail. 

monza. santa maria in strata. General viezv. 

monza. santa maria in strata. Side elevation of tower. 

monza. santa maria in strata. Detail of facade. 

monza. santa maria in strata. Detail of upper part of facade. 

varese. Windoiv detail. 

BOLOGNA. PALAZZO CUMENALE. Window detail. 

bologna, church of san giacomo. Detail of apse. 

BOLOGNA. CHURCH OF SAN GIACOMO. Window detail. 

Milan, santa maria della grazie. General view. 

Milan, santa maria della grazie. General view. 

MILAN. SANTA MARIA DELLA GRAZIE. Detail of S 11 iall COUTt. 

Milan, santa maria della grazie. Detail of large court. 

MILAN. SANTA MARIA DELLA GRAZIE. Detail of large COUVt. 

bologna, ancient palace. General viezv. 

padua. chiesa eremitani. Triptych designed by Giovanni Mirrello. 

poggibonsi. church of san lucchese. Rercdos of altar by Dei della Robbia. 

bologna, palazzo salina. Detail of ornament. 

bologna, palazzo fava. Detail of ornament. 

pavia. san tomaso. Cornice detail. 

bologna. Detail of ornament. 

milan. church of san marco. Windozv detail. 

milan. santo eustorgio. Windozv detail. 

padua. saint anthony of padua. General viezv. 

padua. saint anthony of padua. Exterior detail. 

padua. saint anthony of padua. Exterior detail. 

bologna, spirito santo. Facade of chapel. 

castelarquoto. church of san pietro. Detail of doorway. 

BOLOGNA. CHURCH OF SANTA MARIA DEI ANGELI. Detail of doorway. 

piacenza. church of san francesco. Detail of ornament. 
busseto. church of san Bartolomeo. Detail of ornament. 
ferrara. church of san stefano. Exterior detail. 


Plate 

1 

2 

3 

4 

5 

6 

7 

8 

9 
10 
11 
12 

13 

14 

15 

16 

17 

18 

19 

20 
21 
22 

23 

24 

25 

26 

27 

28 

29 

30 

31 

32 

33 

34 

35 

36 

37 

38 

39 

40 


IV 


pistoia. ospedale del ceppo. Exterior detail. 
pistoia. ospedale del ceppo. Detail of portico. 
pistoia. ospedale del ceppo. Detail of frieze and medallions. 
pistoia. ospedale del ceppo. Detail of polychrome medallion. 
pistoia. ospedale del ceppo. Detail of polychrome medallion. 
cremona. via felice geromini. Entrance detail. 
cremona. no. i via cortese. Detail of ornament. 


piacenza. chiesa carmelo. Detail of ornament. 
piacenza. chiesa carmelo. Detail of ornament. 
bologna, hotel brunn. Cornice detail. 
bologna, casa caracci. Detail of frieze. 

Milan, ospedale maggiore. Portion of facade. 
Milan, ospedale maggiore. Detail of facade. 

MILAN. OSPEDALE MAGGIORE. Window detail. 

ospedale maggiore. Detail of ornament. 
ospedale maggiore. Window detail. 
ospedale maggiore. View in main court. 
ospedale maggiore. Detail in main court. 
milan. ospedale maggiore. Detail of arcade. 
Milan, ospedale maggiore. Detail of arcade. 
Milan, ospedale maggiore. Detail of arcade. 
near milan. Detail of a villa. 
near milan. Detail of a villa. 
near milan. Detail of a villa. 

NEAR MILAN. Detail of ornament. 
vigevano. Exterior detail of castle. 


MILAN. 

MILAN. 

MILAN. 

MILAN. 


Plate 

41 

42 

43 

44 

45 

46 

47 


PAVIA. 

CERTOSA 

DI PAVIA. 

General view. 

48 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of court. 

49 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of court. 

50 

PAVIA. 

CERTOSA 

DI PAVIA. 

Window detail. 

5i 

PAVIA. 

CERTOSA 

DI PAVIA. 

Exterior detail. 

52 

PAVIA. 

CERTOSA 

DI PAVIA. 

View of Great Cloister. 

53 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail from Court of the Fountain. 

54 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of Great Cloister. 

55 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

56 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

57 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

58 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

59 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

60 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

61 

PAVIA. 

CERTOSA 

DI PAVIA. 

Detail of ornament. 

62 

PISTOIA. 

cathedral. Entrance detail. 

63 


64 

65 

66 

67 

68 

69 

70 

71 

72 

73 

74 

75 

76 

77 

78 

79 

80 

81 

82 


v 


vigevano. Exterior detail of Castle. 
vigevano. Windozv detail of Castle. 
near castiglione olna. Windozv detail. 
piacenza. palazzo municipale. General view. 
piacenza. palazzo municipale. Detail of courtyard. 
piacenza. palazzo municipale. Windozv detail. 
piacenza. palazzo municipale. Windozv detail. 
near Milan, villa mirabello. General viezv. 

NEAR MILAN. VILLA MIRABELLO. Exterior detail. 
near Milan, villa mirabello. Viezju of courtyard. 
near Milan, villa mirabello. Detail of courtyard. 
near milan. villa mirabello. Fireplace detail. 
ferrara. castle romei. Fireplace detail. 
lodi. ospedale. Detail of courtyard. 
lodi. ospedale. Detail of ornament. 

NEAR PAVIA. ANCIENT CLOISTER. Detail. 

near pavia. ancient cloister. Detail of ornament. 

near pavia. church of san lanfranco. Detail of ornament. 

near milan. suburban villa. Detail of ornament. 

cremona. palazzo stanga. Detail of courtyard. 

cremona. palazzo stanga. Detail of courtyard. 

cremona. palazzo stanga. Detail of ornament. 

bologna. Detail of arcade. 

bologna. Detail of arcade. 

bologna. Detail of ornament. 

milan. church of san antonio. Detail of cloister. 

milan. church of san antonio. Detail of cloister. 

milan. castello sforzesco. Exterior detail. 

milan. castello sforzesco. Detail of courtyard. 

milan. castello sforzesco. Windozv detail. 

milan. castello sforzesco. Windozjv detail. 

bologna, church of the corpus domini. Entrance detail. 

bologna, church of the corpus domini. Detail of ornament. 

bologna, church of the corpus domini. Detail of ornament. 

bologna, church of the corpus domini. Detail of ornament. 

bologna, church of the corpus domini. Exterior detail. 

bologna, church of the corpus domini. Detail of ornament. 

moderna. church of san pietro. Exterior detail. 

parma. church of san giovanni. Cornice detail. 

near milan. cascina bicocca. Rear viezju. 

near milan. cascina bicocca. Detail of fagade. 

near milan. cascina bicocca. Exterior detail. 


Plate 

83 

84 

85 

86 

87 

88 

89 

90 

91 

92 

93 

94 

95 

96 

97 

98 

99 

100 

101 
102 

103 

104 

105 

106 

107 

108 

109 
no 

111 

112 

113 

114 

115 

116 

11 7 

118 

119 

120 
121 
122 

123 

124 


VI 


Plate 

near Milan, cascina bicocca. General view. 125 

near Milan, cascina bicocca. Windozv detail. 126 

SAN GIMIGNANO. PALAZZO BORGHERESI. Window detail. I2J 

Milan, palazzo casa borromeo. Detail from courtyard. 128 

Milan, palazzo casa borromeo. Window detail. 129 

cremona. palazzo comunale. Detail of fagade. 130 

cremona. palazzo comunale. Detail of facade. 131 

CREMA. CHURCH OF SANTA MARIA DELLA CROCE. General view. 132 

CREMA. CHURCH OF SANTA MARIA DELLA CROCE. Exterior detail. 133 

bologna, palazzo pallavicini. Detail of arcade. 134 

bologna, palazzo pallavicini. Entrance detail. 135 

bologna, palazzo on via santo stefano. General viezv. 136 

BOLOGNA. PALAZZO ON VIA SANTO STEFANO. Cornice detail. 137 

bologna, church of san francesco. General view. 138 

bologna, church of san francesco. Exterior detail. 139 

bologna, church of san francesco. Detail of doorway. 140 

BOLOGNA. PALAZZO ANTICO DE MERCANTI. Detail of doorZVay. I4 1 

near Milan, chiaravalle Milanese. General view. 14 2 

NEAR MILAN. CHIARAVALLE MILANESE. Exterior detail. 143 

crema. cathedral. Window detail. 144 

crema. cathedral. Window detail. 145 

crema. cathedral. Detail of ornament. 146 

crema. cathedral. Detail of ornament. H 7 

cremona. cathedral. Window detail. 148 

cremona. cathedral. Window detail. I 49 

cremona. cathedral. Window detail. I 5 ° 

cremona. palazzo giureconsulti. Windozv detail. 15 1 

pavia. Exterior detail. l S 2 

pavia. palazzo orlandi. Detail of ornament. 1 53 

piacenza. palazzo dei tribunale. Windozv detail. 154 

piacenza. palazzo dei tribunale. Windozv detail and frieze . 1 55 

PIACENZA, palazzo DEI tribunale. Detail of ornament. 156 

piacenza. palazzo dei tribunale. Details of ornament. 1 57 

soncino. palazzo viala. Exterior detail. I 5 ^ 

soncino. palazzo viala. Detail of ornament. x 59 

soncino. palazzo viala. Windozv detail. *6o 

busseto. palazzo comunale. Exterior detad. 161 

busseto. palazzo della rocca. Windozv detail. 162 

busseto. palazzo della rocca. Window detail. 163 

PAVIA. SANTA maria del carmine. Exterior detail. 

PAVIA. SANTA MARIA DEL CARMINE. WilldoZV detail. ^5 

PAVIA. SANTA MARIA DEL CARMINE. WMoW detail. : 66 


VII 


Plate 

monza. cathedral of san giovanni. Exterior detail. l ^7 

siena. palazzo comunale. Portion of facade. 
siena. palazzo comunale. Detail of ornament. 

siena. palazzo comunale. Window detail. I 7° 

ferrara. palazzo roverella. Detail of ornament. I 7 I 

parma. chapel of cathedral. Detail of ornament. l 7 2 

parma. chapel of cathedral. Detail of ornament. x 73 

PARMA. CHAPEL OF CATHEDRAL. WilldoZV detail. 1 7 4 

cremona. cathedral. Wiiidozv details. 1 7 5 

cremona. the campanile. Exterior detail. 1 7 6 

MILAN. THE CAMPANILE OF SAN GOTTARDO. Exterior detail. I 77 

cremona. palazzo monte pi eta. Detail in courtyard. x 7 & 

cremona. palazzo monte pieta. Detail in courtyard. l 79 

cremona. palazzo monte pieta. Detail in courtyard. J 8o 

bologna, palazzo comunale. Exterior detail. 

bologna, church of san giacomo. Cornice and roof detail. I< ^ 2 

bologna, palazzo pepoli. Detail of ornament. 

near Milan. Entrance detail. x 84 

near Milan. Detail of ornament. * J S5 

VENICE. CHURCH OF SANTA MARIA DI FRARI. Tomb. 1 86 

VERONA. CHURCH OF SANT "ANASTASIA. Tomb. 1 87 

BOLOGNA. CHURCH OF SAN FRANCESCO. Tomb. 1 88 

verona. church of sant "anastasia. Detail of ornament. 189 

VERONA. STATUE OF ST. ANTHONY. IQO 

VERONA. STATUE OF SAN GIROBAMO. I 9 1 

FLORENCE. POLYCHROME PANEL BY ANDREA DELLA ROBBIA. I92 

FLORENCE. POLYCHROME ALTAR PIECE BY GIOVANNI DELLA ROBBIA. 193 

FLORENCE. POLYCHROME SEAL BY LUCA DELLA ROBBIA. 1 94 

FLORENCE. POLYCHROME SEAL BY LUCA DELLA ROBBIA. 195 

CASENTINO. POLYCHROME SEAL BY ANDREA DELLA ROBBIA. 1 96 

CASENTINO. POLYCHROME SEAL BY DELLA ROBBIA. 1 97 

FLORENCE. POLYCHROME PLAQUE BY DEI DELLA ROBBIA. 1 98 

FLORENCE. POLYCHROME SEAL BY DEI DELLA ROBBIA. I99 

verona. Detail of ornament. 200 


VIII 



GALATRONA. 

A Baptismal Font by Dei della Robbia, in white glazed terra cotta. 


Plate i 



































BOLOGNA. PALAZZO CENCIAIOLI. 

An interesting detail dating from about 1500. The windows, cornices, caps, etc., are all of 
terra cotta. Pilasters are in terra cotta, painted. Wall surfaces are of stucco. Balcony is 

of stone. 


Plate 2 










































BOLOGNA. PALAZZO CENCIAIOLI. 

Window and belt courses of the upper portion, pilaster caps and arch molds of the lower part, 

are of terra cotta. 


Plate 3 

































BOLOGNA. PALAZZO BEVILACQUA. 
Detail in the Courtyard. Fountain of stone. 


Plate 4 


wwm 















BOLOGNA. PALAZZO BEVILACQUA. 
Detail in the courtyard. 


Plate 5 











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PAVIA. CLOISTRE DELLA PRISTERLA. 

The columns are of stone; walls of stucco; trim of red terra cotta. A pleasing example of terra cotta applied to the decorative 

scheme of a loggia. 

























MILAN. CHURCH OF THE INCORONATA. 

Detail of Chapel dating from about 1450 . The Gothic ornamentation of the cornice is 
rendered in red terra cotta, with a stucco background. 


Plate S 












MILAN. 

Terra cotta window detail and frieze from a small palace at 7 Via di S. Spirito, built about 
twenty years ago. Copied from an old building (destroyed). Terra cotta and brick are red. 


Plate p 














MONZA. SANTA MARIA IN STRATA. 

Fagade of red terra cotta and brick, dating from 1393 . Built at a time close to the best 
Gothic period, this structure well illustrates the appropriateness of terra cotta for this type 
of architecture, and its acceptability as a material in ecclesiastical construction. 


Plate io 



























MONZA. SANTA MARIA IN STRATA. 
Side elevation of tower. 


Plate II 


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MONZA. SANTA MARIA IN STRATA. 
Detail of Facade. 


Plate 12 






























Plate is 

























VARESE. 

Very interesting window in terra cotta in building at Via Vicolo Perabo No. 8. This is the 
only example of old terra cotta to be found in this city. 


Plate 14 

























BOLOGNA. PALAZZO CUMENALE. 

Interesting window at the side of the palace, all in terra cotta. 


Plate 15 





































BOLOGNA. CHURCH OF SAN GIACOMO. 
Terra cotta detail of apse. 


Plate 16 
















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BOLOGNA. CHURCH OF SAN GIACOMO. 

Window in rear of church. An excellent treatment of low relief terra cotta and a style of 
decoration which lends itself to color. The inscription suggests an idea which could well be 
employed in some of our modern work. The lack of uniformity in width of the voussoir 
blocks is noteworthy. At the bottom of the window the blocks are scarcely larger than an 
ordinary brick, and each carries but half of the modeled leaf ornament. Above the springing 
line are some blocks of double width, each carrying the ornament complete. It is probable 
that all these blocks were modeled individually without recourse to molds. 


Plate 17 



























MILAN. SANTA MARIA DELLA GRAZIE. 

The apse, begun in 1470 but not completed until the 16th Century. The general plan of the 
structure and the decorative treatment of the lower part are in large measure the work of 
Bramante—an interesting composition in brick, terra cotta, stone and stucco. 


Plate 18 





















































MILAN. SANTA MARIA DELLA GRAZIE. 
General view, looking toward apse. 


Plate 19 









































































MILAN. SANTA MARIA DELLA GRAZIE. 
Detail of small court adjoining the church. 


Plate 20 












MILAN. SANTA MARIA DELLA GRAZIE. 
Detail of large court adjoining the church. 


Plate 21 


















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MILAN. SANTA MARIA DELLA GRAZIE. 

Detail of Court adjoining church. The wall surfaces are stucco embellished by painted 
frescoes, dating from the 16th Century. 


Plate 22 





















BOLOGNA. 

Ancient palace on the Via Galliera, in brick and terra cotta. 


Plate 23 













PADUA. CHIESA EREMITANI. 

Triptych designed by Giovanni Mirrello about 1511. It is 18' 6" long, and executed in red 
terra cotta which has been painted in brilliant colors. The statues are also of terra cotta. It 
is interesting to note that while the art of making glazed polychrome terra cotta was practiced 
at this time, its secrets were closely guarded by the Robbia family. This terra cotta has with¬ 
stood the centuries with no apparent change even in its minutely modeled details. 

Plate 24 










































POGGIBONSI. CHURCH OF SAN LUCCHESE. 

Reredos of an altar in polychrome terra cotta by Dei della Robbia, dating from the beginning 
of the 16th Century. The lapse of four centuries has not been sufficient to dim in the 
slightest degree any detail of form or color in this masterpiece. Each intimate touch of the 
master hand has been preserved through the enduring quality of his chosen material, as it was 
on the day it was taken from the kiln. It is eloquent of a use to which modern terra cotta 

is called all too infrequently. 


Plate 25 









































BOLOGNA. PALAZZO S ALIN A. 

Detail dating from about 1600, in red terra cotta. The vigorous effect in the roundel is 
achieved by modeling the head in full relief, with deeply recessed background. Similar vigor 
of treatment is manifested in the modeling of the archivolt and label mold. 


Plate 26 









BOLOGNA. PALAZZO FAVA. 

Detail showing terra cotta caps and arch molds. 


Plate 2f 
















PAVIA. SAN TOMASO. 

An interesting cornice in broad treatment in terra cotta. This cornice, about four feet high, 
has an extreme projection of only a few inches, the rich effect being obtained in very low relief. 
This illustrates well how cornice effects can be obtained without excessive projection. 


Plate 28 


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BOLOGNA. 

A detail in red terra cotta in the Museum, suggestive of belt-course or cornice enrichment 

with but slight projection. 


Plate 29 



















MILAN. CHURCH OF SAN MARCO. 
Window showing interesting Gothic enrichment in terra cotta. 


Plate 


30 























MILAN. SANTO EUSTORGIO. 
Window detail in red terra cotta. 


Plate 31 








































PADUA. SAINT ANTHONY OF PADUA. 

The sepulchral church of Saint Anthony of Padua erected in 1232-1307. The domes, of 
which there are seven, were reconstructed in 1424. In plan the edifice is similar to early 
French churches; the nave is three hundred and seventy-eight feet in length, and the transept 
one hundred and eighty feet. The design is executed in terra cotta, marble and brick, the 
cornices, belt courses and window trim being of red terra cotta. 


Plate 32 










PADUA. SAINT ANTHONY OF PADUA. 

View from the court window. The 15th Century painted ornament on the stucco of the 
cloister walls has been restored recently. This ornament furnishes suggestions for the use 

of colored terra cotta. 


Plate 33 















PADUA. SAINT ANTHONY OF PADUA. 


View from a court window. The 15th Century frescoes are in process of restoration. 


Plate 34 






































BOLOGNA. SPIRITO SANTO. 

Faqade of Chapel. Early Renaissance, in brick and terra cotta, dating from about 1500; 
restored in 1893. The backgrounds of the rondels have been stained a cool deep blue. 


Plate 35 





































































GRANDE CON] 


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CASTELARQUOTO. 

Terra cotta architrave of doorway in the Church of San Pietro. 


Plate 36 

















BOLOGNA. CHURCH OF SANTA MARIA DEI ANGELI. 
Terra cotta entrance detail. 


Plate 37 













PIACENZA. CHURCH OF SAN FRANCESCO. 

Detail of doorway. The symbolism of the ornament is interesting, expressing as it does the 
monogram of Christ, the crown of thorns, and the Trinity. 


Plate 38 



















BUSSETO. CHURCH OF SAN BARTOLOMEO. 
Detail of ornament of doorway. 


Plate 39 












































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PISTOIA. OSPEDALE DEL CEPPO. 


Detail of portico, showing portion of the frieze and medallions executed by Giovanni della 
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and stone. 


Plate 42 





























PISTOIA. OSPEDALE DEL CEPPO. 

Detail of frieze and medallions executed in polychrome terra cotta by Giovanni della Robbia 

and others, about 1525. 


Plate 43 































PISTOIA. OSPEDALE DEL CEPPO. 

Detail of one of the polychrome medallions, the work of Giovanni della Robbia, about 1525. 


Plate 44 


















PISTOIA. OSPEDALE DEL CEPPO. 

Medallion of glazed polychrome terra cotta, the work of Giovanni della Robbia, about 1525. 


Plate 43 















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PAVIA. CERTOSA DI PAVIA. 

Considered the most beautiful building of the Renaissance in Italy. Begun in 1396, it required 
about a century for its completion. Its design embraces the use of practically all the available 
building materials of that day, including much terra cotta. 


Plate 48 















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PAVIA. CERTOSA DI PAVIA. 

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to the brick. 


Plate 50 













PAVIA. CERTOSA DI PAVIA. 
Detail of terra cotta window. 


Plate 51 














































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PAVIA. CERTOSA DI PAVIA. 

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resembles the terra cotta in color and manufacture. 


Plate 5. 



















PAVIA. CERTOSA DI PAVIA. 

View of the Great Cloister dating from 1453. The terra cotta arches and cornices were designed by A. de Surtis. 

























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PAVIA. CERTOSA DI PAVIA. 

Detail of terra cotta modeling, in bold relief, of the Great Cloister, more than four centuries old. 


Plate 6o 


































PAVIA. CERTOSA DI PAVIA. 

Detail of terra cotta arches and capital of the Small Cloister. These details were designed 

by R. Raimondi. 


Plate 61 










PAVIA. CERTOSA DI PAVIA. 

Enlarged terra cotta detail of Small Cloister, illustrating the perfect preservation of the 
modeled ornament after nearly five centuries. 


Plate 62 










PISTOIA. ENTRANCE OF CATHEDRAL. 

The archivolt, soffit and panel over doorway are in glazed polychrome terra cotta by 
Andrea della Robbia. This is an excellent illustration of the propriety of polychrome in the 
exterior decoration of an ecclesiastical structure. 


Plate 63 







































PIACENZA. CHIESA CARMELO. 

This shows the terra cotta ornamentation of the stone columns flanking the entrance. This 
use of terra cotta, unusual in Romanesque and Renaissance, was more common in the 
earlier periods of European civilization, the Greeks having used colored terra cotta to embellish 

their structural members. 


Plate 64 










PIACENZA. CHIESA CARMELO. 

Detail of terra cotta ornament on the stone columns flanking the entrance. A polychrome 
effect has been achieved by the use of paint. 


Plate 63 










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MILAN. OSPEDALE MAGGIORE. 

Detail of facade. With the exception of the columns, capitals and sills of the lower story, 
the ornament is entirely of red terra cotta. 


Plate 69 















































MILAN. OSPEDALE MAGGIORE. 

Detail of window from main fagade, entirely of terra cotta except mullion, sill and corbels, 
which are of stone. The bambino ornament with grape vines is one of the finest examples of 
terra cotta remaining from the 15th Century and has been copied into many buildings of 

later date. 


Plate 70 







































MILAN. OSPEDALE MAGGIORE. 
Large detail of terra cotta window architrave. 


Plate 71 








MILAN. OSPEDALE MAGGIORE. 

Detail of a terra cotta window at the rear of the building. While the style is distinctly 
Gothic, the richness of ornament shows the influence of the Renaissance. The structure dates 

from the late 15th Century. 


Plate 72 



























MILAN. OSPEDALE MAGGIORE. 

View in the main court. Except for columns and capitals all ornamental features are in a light buff terra cotta. 

















MILAN. OSPEDALE MAGGIORE. 
Detail in the main court. 


Plate 74 





















MILAN. OSPEDALE MAGGIORE. 
Detail of arcade in main court. 


Plate 75 















































MILAN. OSPEDALE MAGGIORE. 

Detail of arcade in main court. All the ornamental detail, except the capitals and columns, 

is in light buff terra cotta. 


Plate j6 











MILAN. OSPEDALE MAGGIORE. 
Detail of arcade in main court. 


Plate 77 






























NEAR MILAN. 

Detail of a villa, formerly part of a cloister. The key, architrave trim, epistyle, cornice and 
medallion mouldings are of terra cotta, dating from about 1500. The soffits, faciae and 
spandrels of the arch and the cornice frieze, originally in brick, have been resurfaced in stucco 
and frescoed. The excellent state of preservation of the terra cotta is noteworthy as is also 
the comparatively small size of the terra cotta blocks. The ecclesiastical symbolism expressed 
in the frescoed decoration of the arches is very interesting, representing as it does the 
monogram of Christ, the four Gospels and Eternity. 


Plate 78 











NEAR MILAN. 

For descriptive details see plate opposite. 


Plate 79 














NEAR MILAN. 

For details see plate 78. The original cloister is depicted in the wall panel. 


Plate 80 





























NEAR MILAN. 

For description see plate 78. 


Plate 81 



































VIGEVANO. 

Detail of the Castle, illustrating the use of terra cotta in Gothic by Leonardo da Vinci and 
Bramante, its designers. Windows and pilasters of terra cotta. 


Plate 82 













VIGEVANO. 

Detail of the Castle, as rebuilt by Bramante and Leonardo da Vinci in 1492. All modeled 
ornament is in terra cotta, furnishing an authoritative illustration of the applicability of this 
material as a successful vehicle of Gothic design. 


Plate 83 








VIGEVANO. 

Gothic window in Castle. Architrave and all decorative detail excepting mullion, in terra cotta. 


Plate 84 







NEAR CASTIGLIONE OLNA. 

Terra cotta ornamentation of a Gothic window in a small house, damaged by vandals. 


Plate 85 
















PIACENZA. PALAZZO MUNICIPALE. 

Erected in 1281. The lower portion is of marble, the large windows of terra cotta. This 
illustrates flat ornament which lends itself effectively to color rendering. After seven 
hundred years the terra cotta is still in excellent condition. 


Plate 86 






















PIACENZA. PALAZZO MUNICIPALE. 

Corner of courtyard. The piers, sill course and mullions are of white marble; the walls and 
battlements are of brick, with terra cotta ornament. 


Plate 87 


























r9 

PIACENZA. PALAZZO MUNICIPALE. 

Detail of terra cotta window ornament. 


Plate 88 



















































PIACENZA. PALAZZO MUNICIPALE. 

Detail of terra cotta windows. Small columns are marble. 


Plate 8p 

































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NEAR MILAN. VILLA MIRABELLO. 


Trim of red terra cotta. The roof is of terra cotta tile. 


Plate 


91 


















NEAR MILAN. VILLA MIRABELLO. 

View of courtyard. The decorations of the spandrel and of the areas about the windows 
are frescoes on stucco, and carry a suggestion of a pleasing exterior effect which might be 
duplicated with the use of more permanent materials than plaster and paint. 


Plate 92 



















NEAR MILAN. VILLA MIRABELLO. 
Detail of courtyard. 


Plate PS 














NEAR MILAN. VILLA MIRABELLO. 

A terra cotta fireplace, built about 1500. The entire structure is of red terra cotta, from 
floor to ceiling. The upper part of the fireplace above the shelf has been plastered and painted. 


Plate 94 







FERRARA. CASTLE ROMEI. 

Fireplace hood constructed entirely of terra cotta, dating from the 14th Century. The upper 
part of the hood (above the ornamental band) has a thin coat of plaster with painted decora¬ 
tions, very beautiful but very much worn. The hood is supported with a wrought iron band. 


Plate 93 









LODI. 

Corner of the courtyard of the Ospedale. The cornice, frieze and archivolts are in terra cotta, 
dating from the early 16th Century. The coiumns are stone. 




Plate 96 






LODI. 

Terra cotta detail in the courtyard of the Ospedale. 


Plate 97 









































NEAR PAVIA. 

Remnant of cloister, dating from 1467, adjoining the Church of San Lanfranco. The cornice, 
archivolts and spandrel plaques are of terra cotta, the columns and capitals of stone. 


Plate 98 



M 



NEAR PAVIA. 

Detail of the terra cotta ornament of an ancient cloister, adjoining the Church of 

San Lanfranco. 


Plate 99 



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NEAR PAVIA. CHURCH OF SAN LANFRANCO. 
Terra cotta corbel in cloister wall, dating from 1467. 


Plate ioo 













NEAR MILAN. 

A panel in red terra cotta found in the courtyard of a suburban villa. 


Plate 101 










CREMONA. PALAZZO STANGA. 

In the courtyard. The fagade is of the early Renaissance, illustrating a pleasing effect 
achieved with a lavish use of terra cotta, the modeling of which serves to show its plastic 
possibilities, from the most delicate detail to the boldest relief. 


Plate 102 








































CREMONA. PALAZZO STANGA. 


Detail of terra cotta archivolts and frieze in the courtyard. 


Plate 103 







































CREMONA. PALAZZO STANGA. 

Detail of terra cotta archivolts and frieze in the courtyard. 


Plate I04 



























BOLOGNA. 

Arcade adjoining the Church of San Giacomo, dating from the earliest period of Italian 
Renaissance. The cornice, frieze and arches are in terra cotta. 


Plate 103 













BOLOGNA. 

Terra cotta detail of the arcade adjoining the Church of San Giacomo. 


Plate 106 




BOLOGNA. 

Terra cotta detail of the arcade adjoining the Church of San Giacomo. 


Plate IO 7 








































MILAN. CHURCH OF SAN ANTONIO. 

Detail of terra cotta cornice and arches of the ancient cloister. 


Plate 109 
































MILAN. CASTELLO SFORZESCO. 
Detail of the courtyard. 


Plate 110 


























































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MILAN. CASTELLO SFORZESCO. 

A Gothic window in brick and terra cotta dating from about 1450. 


Plate 112 








































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A Gothic window in brick and terra cotta. 


Plate ns 































BOLOGNA. CHURCH OF THE CORPUS DOMINI. 

Erected by St. Catherine Vigri in 1456. Restored in 1478-81. The entrance is dark red 

terra cotta. 


Plate 114 























BOLOGNA. CHURCH OF THE CORPUS DOMINI. 
Terra cotta pediment over main entrance. 












































BOLOGNA. CHURCH OF THE CORPUS DOMINI. 
Terra cotta entrance detail. 


Plate 116 






































BOLOGNA. CHURCH OF THE CORPUS DOMINI. 
Terra cotta ornament of the main entrance. 


Plate ii/ 















BOLOGNA. CHURCH OF THE CORPUS DOMINI. 
Terra cotta cornice and capitals. 






















BOLOGNA. CHURCH OF THE CORPUS DOMINI. 

An interesting terra cotta panel over one of the entrances, done in the 15th Century. 


Plate lip 





















MODERNA. CHURCH OF SAN PIETRO. 
Terra cotta frieze, cornice and window. 














































PARMA. CHURCH OF SAN GIOVANNI. 

Detail of cornice, dating from 1510. The terra cotta has received a thin coating of cement or whitewash. 



























NEAR MILAN. CASCINA BICOCCA. 
Rear view, taken from the yard. 












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NEAR MILAN. CASCINA BICOCCA. 

The walls are of stucco with painted decorations around the windows. The trim and string 

courses are of terra cotta. 


Plate 124 



















NEAR MILAN. CASCINA BICOCCA. 
A view from the garden. 


Plate 125 





NEAR MILAN. CASCINA BICOCCA. 

The effect of projecting brickwork around the outside of the terra cotta trim is achieved with 
paint on the stucco, as is also the ornamental border. 


Plate 126 























SAN GIMIGNANO. PA LAZZO BORGHERESI. 
Detail of terra cotta windows. The mullions are of stone. 




















MILAN. PALAZZO CASA BORROMEO. 

In the courtyard. The motif in the decorative wall treatment is taken from the coat of arms 
of the House of Lombard, and illustrates an effect which can readily be obtained in terra cotta 
ashlar by low relief modeling or by the use of polychrome. 


Plate 128 

























MILAN. PALAZZO CASA BORROMEO. 
A Gothic window. 


Plate 129 


















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CREMONA. THE PALAZZO COMUNALE. 
Part of the main facade. 


Plate 131 



















































CREMA. CHURCH OF SANTA MARIA DELLA CROCE. 

Built about 1490 by Giovanni Battagio and others, under the influence of Bramante, and later 
remodelled. An interesting composition in brick, terra cotta, stone and stucco. The excellent 
condition of the terra cotta tracery in the pierced panels is noteworthy. These formed part 

of the original structure. 


Plate 132 






























CREMA. CHURCH OF SANTA MARIA DELLA CROCE. 
Portion of dome. The terra cotta panels are noteworthy. 


Plate 133 













































BOLOGNA. PALAZZO PALLAVICINI. 
A part of the arcade in terra cotta and brick. 


Plate 134 
















BOLOGNA. PALAZZO PALLAVICINI. 
Detail of terra cotta ornament. 


Plate 135 



























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BOLOGNA. CHURCH OF SAN FRANCESCO. 

This building was begun by Marco da Brescia about 1236-63. The tower at the left is of 
red brick and terra cotta, by Antino di Vincenzo. 


Plate 138 






































BOLOGNA. CHURCH OF SAN FRANCESCO. 

The cornice, frieze and window tracery are of terra cotta dating from 1405. 




Plate 139 






















































BOLOGNA. CHURCH OF SAN FRANCESCO. 

One of the Gothic doorways in brick and terra cotta, dating from 1405. 


Plate 140 



























































BOLOGNA. PALAZZO ANTICO DE MERCANTI. 
Entrance door in brick and terra cotta. 


Plate 141 








NEAR MILAN. CHIARAVALLE MILANESE. 

Cistercian Church, built by St. Bernard of Clairvaux, and dedicated in 1221. Church and 
tower are built of brick, with terra cotta and stone trim. Color contrast in the cornices is 

obtained by the use of painted stucco. 


Plate 142 


















NEAR MILAN. CHIARAVALLE MILANESE. 
Detail of Cistercian Church, shown on plate 142. 


Plate 143 
































CREMA. 

Detail of terra cotta ornament of the Cathedral, dating from the 13th Century. 


Plate 144 























CREMA. 

Detail of terra cotta ornament of the Cathedral, dating from the 13th Century. 


Plate 145 



























































CREMA. 

Detail of terra cotta ornament of the Cathedral, dating from the 13th Century. 


Plate 147 













CREMONA. 

A Gothic detail of the 13th Century Cathedral. 
















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A Gothic detail of the 13th Century Cathedral. 














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CREMONA. 

An interesting Gothic detail of the 13th Century Cathedral. 


Plate 130 

















CREMONA. PALAZZO GIURECONSULTI. 
Detail of Gothic window in brick and terra cotta. 


Plate 151 










PAVIA. 

Detail in court opposite the Church of Santa Maria del Carmine. 


Plate 152 



















PAVIA. PALAZZO ORLANDI. 

Modeled ornament in terra cotta after Bramante, dating from about 1500. 


Plate 153 


■ __ 
































PIACENZA. PALAZZO DEI TRIBUNALE. 

Terra cotta window trim in the main fagade dating from 1484. Designed by Giovanni Battagio. 


Plate 154 



















PIACENZA. PALAZZO DEI TRIBUNALE. 
Terra cotta frieze and window trim by Giovanni Battagio. 



Plate 155 







Detail of terra cotta frieze. 

















































PIACENZA. 

Small pieces of terra cotta from the Palazzo dei Tribunale, on exhibition at the local museum. 


Plate 157 













SONCINO. PALAZZO VIALA. 

Fagade showing terra cotta frieze and window trim dating from 1450. 


Plate 158 















SONCINO. PALAZZO VIALA. 
Detail of terra cotta ornament. 































SONCINO. PALAZZO VIALA. 


Detail of first story frieze and window trim, dating from 1430. The frieze originally extended 
across the window opening; the composition was partly destroyed through the relocating of 
the window by the cutting away of the frieze and the removal of part of the Gothic tracery. 
The rich architrave ornament is accomplished by the use of only two block patterns, rendered 
right and left and alternately repeated. The design painted on the stucco carries an interesting 
suggestion for the decorative treatment of terra cotta ashlar, either in very low relief or by 

subtle color contrast. 





















BUSSETO. PALAZZO COMUNALE. 

Terra cotta frieze and window trim in early Renaissance. 


Plate 161 




















BUSSE10. PALAZZO DELLA ROCCA. 

Detail of window. A blending of Gothic and Renaissance. The principal ornamentation of 
the architrave above the urns is accomplished by the repeated use of only two blocks, right 
and left being identical, illustrating an important principle of economy in terra cotta design. 


Plate 162 























BUSSETO. PALAZZO DELLA ROCCA. 

The work of the mason has been so well done that the jointing of the terra cotta almost defies 
detection. The free standing pendant is remarkable in the large size of its pieces, in comparison 
with the sizes usually employed in this period. 


Plate 163 
























































PAVIA. SANTA MARIA DEL CARMINE. 

The ornamental details, excepting the mullions of the Gothic windows, are in terra cotta, 

dating from 1390. 


Plate 164 























PAVIA. SANTA MARIA DEL CARMINE. 

An excellent illustration of the permanence of burned clay is furnished by the rose window, 
where the minutest detail of the wings of the cherubs is plainly visible after a lapse of over 

five centuries. 


Plate i6j 





















PAVIA. SANTA MARIA DEL CARMINE. 

The label mold carries an excellent illustration of the use of Christian symbolism in modeled 
design, as does the spandrel above the mullion, the Trinity being denoted by the trefoil, the 
monogram of Christ by the diagonal cross, and the Redemption by the vertical cross. 


Plate 166 


















MONZA. CATHEDRAL OF SAN GIOVANNI. 

In the passage leading to the side entrance of the Cathedral. The trim of the three Gothic 
windows above and also the rectangular frame of the lower window are in red terra cotta 

dating from about 1400. 


Plate l6j 













SIENA. PALAZZO COMUNALE. 

A portion of the main facade. An interesting composition in stone, brick and terra cotta. 


Plate 168 


























































SIENA. PALAZZO COMUNALE. 

A good example of Gothic ornament rendered in terra cotta. 


Plate 160 























SIENA. PALAZZO COMUNALE. 

Detail of terra cotta window in court. Columns of stone. 


Plate I/O 











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FERRARA. PALAZZO ROVERELLA. 
Detail of terra cotta ornament, executed in 1508. 


Plate 171 























































































PARMA. 

Terra cotta ornamentation of a small chapel at the side of the Cathedral. 


Plate 172 














PARMA. 

Terra cotta ornament on small Chapel at side of Cathedral. 









PARMA. 

Gothic window in small chapel at the side of the Cathedral. 


Plate 174 


















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CREMONA. THE CAMPANILE. 

This structure, nearly four hundred feet high, was erected between the years 1261 and 1284. 
It is of brick, with marble and terra cotta trim. 


Plate 1/6 

















MILAN. 

The Campanile of San Gottardo, built by Pecorari about 1330. 


Plate 177 


















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CREMONA. PALAZZO MONTE PIET A. 

Detail in courtyard. The friezes, columns, archivolts and window trim are of red terra cotta. 
The decorative treatment of the columns serves the double purpose of enriching the beauty of 
these details and effectively concealing the joints. 






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CREMONA. PALAZZO MONTE PIETA. 
Corner in the courtyard. 


Plate 179 











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CREMONA. PALAZZO MONTE PIETA. 
Detail in courtyard in red terra cotta and stucco. 


Plate 180 

































































BOLOGNA. PALAZZO COMUNALE. 
Detail of three terra cotta windows 


Plate 181 































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BOLOGNA. PALAZZO PEPOLI. 

A Gothic detail executed in terra cotta, dating from 1344. 




















NEAR MILAN. 

Terra cotta architrave of a doorway. This architrave is built in three courses—the inner band, 
bearing the leaf ornament, the ornately modeled central detail, and the egg and dart crown, 
each consisting of a separate series of blocks, the jointing well hidden by the modeling. 

See plate 185. 



Plate 184 
























NEAR MILAN. 

Detail of the ornament of terra cotta architrave shown on plate 184. 


Plate 185 








VENICE. CHURCH OF SANTA MARIA DI FRARI. 

Tomb dating from 1437. The canopy and panel are in unglazed red terra cotta. While the 
modeling has been badly marred by vandals, enough of the detail remains to reveal an unusually 

rhythmic and graceful treatment. 


Plate 186 

























VERONA. CHURCH OF SANT ’ANASTASIA. 
Tomb of Cortesia Serega, entirely terra cotta. 


Plate i8y 











BOLOGNA. CHURCH OF SAN FRANCESCO. 

Terra cotta tomb built in early 15th Century. This tomb well illustrates the decorative use 
of terra cotta and shows the possibilities of this material for interiors. 


Plate 188 
























































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VERONA. 

Terra cotta statue of St. Anthony in the Civil Museum. 


Plate 190 





VERONA. 

Statue of San Girobamo in the Civil Museum (very old). An interesting example of the 
modeler’s art perpetuated in terra cotta. While only forty-two inches high, it was made in 
^ve sections, as indicated by the jointing, to guard against its warping while being burned. 
Under modern conditions it could easily be produced as a single piece. 


Plate ip I 



FLORENCE. 

A glazed polychrome terra cotta panel by Andrea della Robbia, now in the National Museum. 
White figures against a blue background. 


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Plate 192 

















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FLORENCE. 

Seal of Serristori in the Palazzo Quaratesi gia Pazzi, executed in glazed polychrome terra cotta by Luca della Robbia. This 
roundel is about four feet in diameter. The jointing is scarcely discernable, due to the ingenuity exercised in the execution of 

the modeled ornament. 









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Plate 196 






CASENTINO. 

Stemma or family seal in the courtyard of the castle, in glazed polychrome terra cotta 
by della Robbia. 


Plate 197 








FLORENCE. 

A plaque in glazed polychrome terra cotta by Dei della Robbia, set in the main faqade of 
the Church of San Michele. After over four centuries of exposure to the elements, all the 
details of the modeling are still perfect. 


Plate 198 













FLORENCE. 

Stemma or seal on the exterior of the church of San Michele, in glazed polychrome terra cotta, 
by Dei della Robbia. The fruit and flower border of the seal is in naturalistic colors, very 
highly keyed with a dominance of yellows and greens. The reds and oranges are in lower 
key. The figures of the cherubs are in white. Shield insert is of dull brown. 


Plate ipp 









VERONA. 

A terra cotta detail, dating from the early 14th Century, now in the Museo Civico. An 

excellent example of clay technique. 



Plate 200 






































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